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It's been a few days since I've written a review. It's taken me that long to move past the new Chems CD long enough to pick up something else. But finally, I've been able to set it aside long enough to write about this little release.
The Fonky Bald Heads are a band formed by New Power Generation members Kirk Johnson, Kip Blackshire and Mike Scott. Rapper DVS is also a member though I'm not sure he's famous for anything else. He may have a local reputation. This disc never received national distribution. This is another record you had to buy directly from the group.
So the inclusion of NPG members isn't enough to make me pick up a cd. But Prince wrote a song on this record and it isn't available anywhere else. An edit of the track was released as part of the NPGMusic Club back when that was going, but it wasn't the complete song.
I originally bought this disc as a digital download and then found it on Amazon.com a year or so after. I picked it up and my impression then is the same as now. There are certain tracks on this disc I absolutely love. And then there are songs I don't care for either way. What does surprise me is the material I do like.
The first track is a segue into the album and sounds like something you'd hear from George Clinton. It's spacey, grandiose and not a little pretentious. It's followed by 'Soundasame'. For those people following Prince since the inception of the New Power Generation as a band, this concept isn't anything new. He used to go on and on about real musicians who played real music and didn't lip sync onstage during a concert. 'Soundasame' basically accuses all boybands and groups that don't actually play music live as being fake and they all sound the same. I don't agree with the statement and I find this number a little tedious. The next track is a power ballad of sorts. And this one I do like. 'Under The Same Clouds' has a lovely chorus and a spirited rap by DVS that accentuates the drama revealed in the lyric's story. 'Fonky Like A' is an awesome track! It's got the funk and the groove to really make you get up and shake. I've heard three versions of this number and I like them all.
The next track is one of my favorites. 'Passin Your Name' is another awesome ballad similar to 'Under The Same Clouds'. DVS raps the verse and then the chorus is sung by Kip Blackshire I believe. It's got a wonderful story, but the deal clencher is the chorus hook. I sing along at the top of my lungs. Now that's a good tune. The next track, 'Sex In My Bones' is one I'm not partial too. It's boring and like 'Soundasame' and 'If Ya'll Wanna Rock', it tries to blend elements of hard rock into the song to give it more power. Instead, it just sounds like overlayered instrumentation. None of those tracks appeal to me and they really leave me disappointed. I should mention... 'If Ya'll Wanna Rock' is a hidden track at the end of the disc. The title comes from the internet, so I'm not even sure what it really is. But I'm guessing it's correct.
'Rowdy Mac' is the Prince contribution and is pretty good. It doesn't stand out too strongly and also includes some harder sounds but for some reason, they actually work on this track. I doubt Prince had much to do with it other than contribute to it. It doesn't have a strong Prince feel, though does remind me somewhat of 'Mad Sex'.
So my overall opinion is mixed. I certainly really like the songs I like, but I'm indifferent to the ones I don't. So I'm leaning more toward the positive here. It's worth the purchase if you stick to the songs you really enjoy and let the rest float by. My final word: FONKY.
FONKY BALD HEADS - THE SELF TITLED ALBUM
01. Introdukshun
02. Soundasame
03. Under The Same Clouds
04. Fonky Like A (Remix)
05. Passin Your Name
06. Sex In My Bones
07. Fonky Lyka (Live)
08. Rowdy Mac
09. If Ya'll Wanna Rock
Well, anyone who knows me knows I've been waiting with baited breath for this disc to come out. I just love me some Chems... I've always been fascinated by what these two guys create. They do more than just write dance music. There's a lot of thought and art in what they're doing. Visually, they are just as stimulating as they are groovy. But let's talk about 'Further'...
My initial reaction to the tracks I heard before the albums release; 'Escape Velocity' and 'Swoon' was kinda mixed. I liked them, but I wasn't really counting on something as anthem-like or larger than life. The Brothers always produce music that is huge, full and often powerful. Both these tracks seemed more on the weak side and I felt a little discouraged by the potential of this disc. That was until I actually heard it.
'Snow' starts off with some odd distortion and the repeated line of "Your love keeps lifting me... Lifting me higher". Not a very unique theme in dance music. But the odd mixture of subdued instrumentation and the almost insane way the vocals are delivered gives this track a sense of apprehension. It also reinforced my initial opinion that I was about to hear some really low end dance tracks normally reserved for Top 40 pop rather than the strong, psychedelic beats of previous efforts. 'Escape Velocity' segues from 'Snow' and is actually very exciting. Especially when you're driving around in your truck with the volume up at earth shattering decibels. 'Another World' starts up and right away I thought to myself... "Hunh?" But once the song kicks in, I was nodding my head and bouncing along for the ride completely in tune with what was happening. 'Dissolve' had me literally coming out of my seat. I was so excited by what I was hearing. When the drum beat kicks in, you just can't help but feel like exploding. "Gir, self destruct." "Finally, Yea!!!!!!!!!!!!!!!!!!!!!!!!!!!" BOOOOOOOOOOOOM!
'Horse Power' seems like an obvious attempt at high octane rock with heavy beats and the song doesn't disappoint. The sinister repetition of the melody motifs and the heavy build on the drum track, make this song one of the most powerful on the disc. It forces you to take notice and get the "blankety-blank" up off your butt and get to shakin'. 'Swoon' feels like a wonderful fluffy cloud afterward and is both melodic and beautiful especially when taken in context with the rest of the disc. 'K + D + B' is an amazing tune that has all kinds of African drum sounds. It starts off as something tribal but ends up in a more traditional space. It definitely keeps the momentum of the disc moving right along. 'Wonders Of The Deep' is another 'Private Psychedelic Reel'... It has all the mystical sounds and feel of an arena rock anthem, but in The Chemical Brothers own unique style. It's wonderful, surprising and a beautiful conclusion to what I can honestly say is one of the most exciting discs I've heard in ages.
So what about track #9? Well, kiddies, this little number was what I got for buying the digital download early from Itunes. Just my crappy luck to have to buy the album twice for the special song. I hate money grabbing ploys like that. It's like being punished for wanting a CD copy of the disc. But let me be honest... 'Don't Think' is probably my favorite track from this collection. It starts off as a really cool and interesting beat track. It has some nice moments and a great build, but all of a sudden, it changes. You get some spoken lyrics, then a snippet of classical music I can't quite place and finally, a deep funky beat you gotta stick your fingers in and sniff cause it STANKS of funkiness!!! I wish the last two minutes of this song could be taken and made into an entirely different track cause it's the meanest groove I've heard in ages.
I spent two hours driving around in my truck listening to this thing. And it hasn't left my player yet. If you haven't given it a try, I suggest you do it asap. It's one of the most amazing pieces of ART on disc! If I actually rated my discs, this one would get the highest score. It's a winner, so you can't lose. My final words: PERFECTION PERSONIFIED.
THE CHEMICAL BROTHERS - FURTHER
01. Snow
02. Escape Velocity
03. Another World
04. Dissolve
05. Horse Power
06. Swoon
07. K + D + B
08. Wonders Of The Deep
09. Don't Think
10. Pourquoi
I don't think I would offend anyone by stating that I think most of Enya's music sounds the same. And I don't think anyone would be offended because that sound she creates is timeless and absolutely beautiful. She is consistent in the generation of ethereal sound that can soothe the savage heart.
Once again, Enya embraces the language of her ancestors on a number of tracks including the opening number, 'Less Than A Pearl'. The misty sounds and drifting vocal delivery float like fog over an ancient forest. She reminds us of faeries. There are different degrees and types of songs she writes. There's the Celtic Haunt... Songs that have that tribal beat and distant sounds in native tongue. There's the Pop Blurps... Songs that have English lyrics and Top 40 potential. There's the Ballad Knot... Songs that are simple and feature a lovely vocal over sparse accompaniment. There's the Instrumental Segue... Musical pieces that flow between other tracks. Finally, there's the Shock Track... Something different and new.
'Amarantine' can be both a Shock Track and a Pop Blurp. It's the chorus that really gives this track it's unique quality. 'It's In The Rain' is a definite Pop Blurp. 'If I Could Be Where You Are' is a Ballad Knot and 'The River Sings' is a Celtic Haunt. 'Long Long Journey' is a Pop Blurp with some Celtic Haunt music.
'Sumiregusa' is a Shock Track. It has similar qualities to Ballad Knots, but I think the lyrics are Japanese. It's simply lovely. There's a stringed instrument playing I can't quite place. It has an Asian quality. Vocally, the song is sweet and relaxed, but the chorus is tense and urgent. The rest of the tunes can all be neatly categorized. The final track is one I'm quite impressed with. 'Water Shows The Hidden Heart' is a Shock Track for me because of the odd timbre of the vocal arrangement and choice of key. It's lovely, but has a dark sound.
My ultimate opinion of this album is positive. In fact, I like it more than others. Still, it follows a very reliable pattern. One Enya fans have come to expect. She'll never be known for pushing the musical envelope. But she will be remembered for creating songs with the power to inspire and touch the heart. My final words: POSITIVE WITHOUT ENTHUSIASM.
ENYA - AMARANTINE
01. Less Than A Pearl
02. Amarantine
03. It's In The Rain
04. If I Could Be Where You Are
05. The River Sings
06. Long Long Journey
07. Sumiregusa
08. Someone Said Goodbye
09. A Moment Lost
10. Drifting
11. Amid The Falling Snow
12. Water Shows The Hidden Heart
Brownmark, or Mark Brown, is a former Revolution member and Prince associate. After the Revolution disbanded, all of the various members recorded solo material. Wendy & Lisa worked together and still pursue a writing partnership to this day. Mark signed with Motown and took up writing/producing his own material. After writing and producing the Paisley Park outfit Mazarati, Mark wanted to establish himself as a writer and solo artist. His first song efforts with Mazarati were interesting enough to make you wonder where he'd go from there. I admit, I bought this disc not knowing there was a Prince track on it. I was more curious about Mark's sound and what he'd come up with now that he was free of the Prince influence.
The first track, 'Bang Bang' features a background vocal performance by Prince. It was written and produced by Levi Seacer Jr. who was Prince's closest writing buddy at the time. He quite accurately mastered the Prince sound and was often successful in mimicking it in music he produces sans Prince input. The first time I heard the track I was annoyed. I didn't believe it was an authentic Prince composition, but the writing credits in the albums liner notes weren't specific or clear about who wrote what. The fact he was singing and certain sound indicators pointed to a Prince composition, but to me it just didn't have the ring of something he would do. I was relieved later to find out I was right. However, when the second track kicked in, I knew without a doubt it was a Prince song. 'Shall We Dance' is classic! It's an awesome tune and probably was my favorite for some time after I discovered it. All of the other tracks are Mark's own production and writing; which essentially dismisses any further Prince involvement in the project. I still listened with anticipation. Now... All these years later, I'm convinced my initial reaction was accurate.
'Good Feeling' came out around the same time Bobby Brown was having success with 'My Prerogative', 'Every Little Step' and 'Tender Roni'. Sadly, the rest of the album sounds like Mark trying to emulate the sound of the former New Edition superstar. The blatant mimicry of Brown's sound undercuts any possibility of Mark establishing himself as a unique and cutting edge voice in popular music. After hearing this I realized even Mazarati sounds like a copy of the Minneapolis sound rather than something unique and different. The remainder of 'Good Feeling's' tracks lack a distinctive hook or feel to make them really stand out and shine. The sound is technically flawless. It's efficient and bang on. But boring subject matter and generic lyrics make a potentially fun record into a time consuming drudge.
I really wanted to like this disc and couldn't help feeling let down when I didn't. Other efforts by ex-Revolution members have proven to be amazing and well done. Take anything by Wendy & Lisa for example. I'm not sure if Mark's done anything since, but I am sure I'd be cautious about giving him another try. My final words: LET DOWN.
BROWNMARK - GOOD FEELING
01. Bang Bang
02. Shall We Dance
03. Through A Friend Of Mine
04. Good Feeling
05. My Heart Misses
06. It's Not The Way (It Used To Be)
07. Luv Touch
08. Cruisin'
09. Between You And Me
10. Let's Go All The Way
11. Distress Signal
The The is an 80's band built around Matt Johnson. My first exposure to this group was the album 'Soul Mining'. I thought it was seriously one of the greatest pieces of music I'd ever heard. It's on my list of CDs I can't live without. It's that darn good. The sheer poetry of the lyrics makes the disc worth owning.
On the strength of that disc, I became a devoted The The follower. I purchased subsequent CDs despite my lessening appreciation for the material Johnson was doing. And eventually, I lost interest altogether. Many years later I developed a renewed appreciation for some of the later albums as my music tastes had matured. This collection was interesting for a number of reasons. First and foremost is the different versions of various 'Soul Mining' tracks. It seems these versions are the original recordings. 'Uncertain Smile', 'Perfect' and 'This Is The Day' are very different from their album counterparts. There's different vocal arrangements and the instrumentation is different in some places. It's interesting to hear these alternate versions. They give you an idea how the music evolved over time.
There are some subtle differences between the original tracks from 'Infected' and 'Mind Bomb'. The differences are fairly small and hardly noticeable unless you're a die-hard fan. The remainder of the tracks are from albums I haven't heard yet. There are some truly classic numbers though. Like 'Armageddon Days (Are Here Again)'. I love this tune. It talks about how corrupt modern day religion is and how it's the instigator of violence rather than the healing hand of truth. I've always admired Johnson's ability to point out truths most people try desperately to overlook.
The rest of the tracks emerge as stuff I've come to identify as typical The The material. There's a folkish rock quality to the sound. It's not quite alternative, but more a fusion of folk with soulful rock n' roll. Although they can be interesting lyrically, more often than not, they take on an almost blurred sound to me. I don't hear a lot that encourages me to really invest in listening. However, there are some songs that really stand out. 'Love Is Stronger Than Death' being one of them. 'Pillar Box Red' is also interesting for its offbeat instrumentation and bizarre lyrics. It's almost like a drag anthem.
The second disc focuses mainly on music from 'Soul Mining', 'Infected' and 'Mind Bomb'. Of the two discs, it has the greatest value. The 12" versions of these singles are all interesting and refreshing to hear. It's like having your old vinyl singles collection transferred to cd. The 12" version of 'Infected' is much more appealing than the original. I quite love it. The 12" version of 'Armageddon Days' is also extremely exciting. It has a sinister undertone that enhances the confrontational nature of the lyrics. 'Gravitate To Me' is also one of The The's finer moments and it's interesting hearing this extended version of the tune.
Overall, I like the album for the refreshing takes of some classic material. But it doesn't offer much in value beyond that. Unless you're a dedicated fan or someone who really likes the songs the way I do, this collection isn't for you. Although you could consider it a greatest hits record, singles collection is a more appropriate title. I suggest discovering the albums before you get into something like this. My final words: REFRESHING BUT NO VALUE.
THE THE - 45 RPM THE SINGLES OF THE THE
CD1
01. Uncertain Smile
02. Perfect
03. Sweet Bird Of Truth
04. Infected
05. Heartland
06. Armageddon Days (Are Here Again)
07. The Beat(en) Generation
08. Dogs Of Lust
09. Slow Emotion Replay
10. Love Is Stronger Than Death
11. This Is The Day
12. I Saw The Light
13. DecemberSunlight
14. Pillar Box Red
15. Deep Down Truth
CD2 - The 12" Mixes
01. Uncertain Smile
02. Perfect
03. Sweet Bird Of Truth
04. Infected
05. Armageddon Days
06. Violence Of Truth
07. Gravitate To Me
08. Dogs Of Lust
Candy Dulfer is a Holland native who gained some notoriety through her association with Prince in 1989. Since then, she's played with Prince and other musicians internationally. This album is a solo effort relying heavily on her association with various funk and soul legends. My attraction to the disc is rather obvious. I bought it because of the obligatory Prince contribution, 'Sunday Afternoon'. However, I listen to it because it's an awesome contemporary jazz disc and extremely rhythmic.
Dulfer loves funk and uses her album to explore her passion for American R&B. In doing so, she proves white women can be funky 2... The first track is a hip hop funk workout containing a free flow rap performed by Wendell Arthur Morrison Junior in the style of funk godfather, George Clinton. '2 Funky' also appears as the closing track in a more laid back mix titled '2 Funky (Radio Version)'. The title track is a more relaxed groove with lovely improvisation by Dulfer. There's a Middle Eastern flare to 'Man In The Desert'. She moves effortlessly through the various styles and rhythms.
She covers Bonnie Raitt's 'I Can't Make You Love Me' and the Average White Band's 'Pick Up The Pieces'. Both are exceptional covers! The Prince track is a beautiful floating piece with a lazy, breezy quality. Dulfer dances across the base track like a ballet dancer adding dabs of paint to a watercolor landscape. It's very moody, evoking a strong emotional response.
Prince's previous horn sections have also had some breakout artists who've gone on to record solo discs. The most notable is Eric Leeds. Dulfer is quite different from Leeds in many ways. In my opinion, Eric has a more structured sound. His scales and riffs tend to follow closely to the natural build of the song. Dulfer on the other hand, takes a more relaxes approach; as long as she's somewhere near the basic track, she'll chug along happily. Not that either style is better than the other, it just seems different to me. I guess you could say, listening to Candy leaves me feeling unhurried and the music seems less focused on the details. With Eric there's a proficiency that can sometimes be clinical. I do enjoy both styles. Since I don't play the sax or listen to jazz in heavy rotation, it's hard for me to verbalize my thoughts on this instrument and the different styles of playing. I can hear a difference in style and I've become attuned enough to tell the difference in players; but I still find it difficult to put into words.
In conclusion, I give this disc a positive recommendation. It's a great motivational record that will have you tapping your feet and wiggling in your seat. My final word: POSITIVE.
CANDY DULFER - SAX-A-GO-GO
01. 2 Funky
02. Sax-A-Go-Go
03. Mister Marvin
04. Man In The Desert
05. Bob's Jazz
06. Jamming
07. I Can't Make You Love Me
08. Pick Up The Pieces
09. Sunday Afternoon
10. 2 Funky (Radio Version)
Suzanne Vega is an interesting artist. I remember hearing 'Luka' back in the 80's. Sadly, I kinda wrote her off because the song was far too easy to make fun of. We used to change the lyrics and sing all kinds of ridiculous things. It was an important song for bringing attention to child abuse, but for teenagers, it didn't have the same impact. Unless of course you were one of those kids getting hurt. Once again, the insensitivity of youth rears its ugly head.
When 'Tom's Diner' came out, I started paying attention to her. At least in the sense that I liked the song and the beat was really progressive at that time. That Soul II Soul urban beat that was so popular at the time. And the song itself caused me to think about smaller, everyday things I often looked over. Usually, children don't see art in the ordinary. It takes an artist like Suzanne Vega to bring that forward. Even after being strongly impacted by this song, I never paid much attention to her. I chalked this track up to the production work by DNA.
Years later, I had a friend who was really into her and played me a bunch of her CDs. I really enjoyed what I was hearing. Still not enough to pick up any of them. But I gained a great deal of respect for her and the type of people who listened to her. Then I saw "The Truth About Cats & Dogs". At one point, they play 'Caramel' and I realized this was a brilliant songwriter. This song is not only about longing and desire, it's about self control and denying yourself something pleasurable for a greater good. It was truly inspiring and echoed my own decisions regarding my life choices. On the strength of that song, I finally made a purchase.
I wanted something that would give me a complete concept of who this woman is as an artist and 'Retrospective' does is well. It's a well rounded collection of pop hits, obscure tracks and covers a wide range of musical styles Vega can write in. Great pop productions like 'Luka', 'Book Of Dreams' and 'Tom's Diner' are brilliant in their scope and execution. Then there's some of the more divergent material. 'Left Of Center', '99.9F*' and 'Solitude Standing' are more non-traditional singles she released that gained some airplay. There's a folk singer in Vega that leaps to the fore on such wonderful tracks as 'Tired Of Sleeping', 'In Liverpool', 'World Before Columbus' and 'Small Blue Thing'. As I listen to this disc, I discover gems right and left.
Vega has a sultry voice. It's sweet, but with a minor timbre. She's a little off kilter, but in a way that creates apprehension and anticipation. My impression of her is somewhat sad. I think much of what she's done has been changed and dictated by record companies. I continually get the impression through production and sound these songs are changed to fit some concept of what's acceptable and what will sell rather than remaining true to what Vega imagines. She's probably quite different live and I wouldn't be surprised if the live versions of songs are more true to what she envisions rather than what's released.
Practically all of the songs on this disc are worth listening to and have some great value. My favorite tracks are 'Tom's Diner', 'Caramel', 'Small Blue Thing', 'In Liverpool', 'Book Of Dreams' and 'World Before Columbus'. So many other tracks are great though. You won't go wrong picking this up if you've ever been interested in Suzanne Vega. It's a winning purchase. My final word: WINNING.
SUZANNE VEGA - RETROSPECTIVE THE BEST OF SUZANNE VEGA
01. Luka
02. Tom's Diner (DNA Featuring Suzanne Vega)
03. Marlene On The Wall
04. Caramel
05. 99.9F*
06. Tired Of Sleeping
07. Small Blue Thing
08. Blood Makes Noise
09. Left Of Center
10. (I'll Never Be) Your Maggie May
11. In Liverpool
12. Gypsy
13. Book Of Dreams
14. No Cheap Thrill
15. Calypso
16. World Before Columbus
17. Solitude Standing
18. Penitent
19. Rosemary
20. The Queen And The Soldier (Live)
21. Woman On The Tier (I'll See You Through)
Although I don't know much about this film, I am totally familiar with the composer. Ben Watkins is the mastermind behind Juno Reactor. One of my favorite bands. I love them. So when I heard he was taking a stab at writing a film score I knew I had to have it.
Brave Story is a Japanese film and has seen release in western Europe and Asia. It hasn't come to the states yet. But there's always hope. I'm curious to see it after hearing this music.
Once again, Ben tantalizes the ears with his interesting take on a film score. My one complaint would be the myriad of styles and how all over the board this score sounds. It's not as cohesive as one would like. The themes don't carry over enough and it can sometimes seem over the top. I'm normally into that sort of composition... Anything different and unique sounding. But in this case, it almost feels cluttered. The sheer number of individual tracks is daunting.
There are times when Ben sounds like Danny Elfman. And times when you can hear Juno shining through. Then there are unexpected and delightful moments like 'Hare And Heather Part 1' when he does something completely different from anything I've previously heard. The little jig seems to have a timeless rhythm that catches you right in your toes and urges you to get up and boogie. There are also moments where if the film is half as emotional as the scoring, it will be extremely powerful.
I'm enchanted and yet in this particular case, I feel like I'm not seeing a whole picture. I really get the sense this music was written for scenes taking place in the movie and much of the material here doesn't stand alone. It really does require the accompanying media to give it full effect. There are some extremely stand out cuts. 'Mitsuru Theme' sounds like the Tim Burton "Batman" film. 'Bond Between Mother And Child' is a sweet piano melody and deserves to be developed further than just as a bit piece. It has beautiful potential. 'Kee Keema' has a frantic almost insane feeling. It makes me think of crazy circus clowns dancing and juggling on dangerous wires.
'Aerial Ballet' could almost pass for something from the "Nutcracker". 'Sound Of Approaching War' sounds like an drum acoustic version of something Juno Reactor would do. Even though it's very short. 'A Wish For Each Other' reminds me of old Hobbit films from back in the 70's. 'Cry Of The Heart' is a notable piano piece and is beautifully played. It also has an Anime feel to it. 'Sweet Whisper' is a cousin of the 'Labyrinth' track 'Conquistador I'. It is beautiful. I've always thought these pieces were quite haunting. The closing track, 'The Star Of County Down' almost fails as an ending. Yet it has a lovely quality as a stand alone piece and is very pretty.
So I do enjoy the music. I like what he's done. I feel it lacks cohesion, but I also think it's promising. I can't wait to hear more. My final word: HEAVY.
BRAVE STORY - ORIGINAL SOUNDTRACK
01. Mitsuru Theme
02. Main Door
03. Mitsuru Theme 2
04. Vision Door
05. Chamber Of Four Guardians
06. Bond Between Mother And Child
07. To School
08. Barbarone Incanation
09. Kee Keema
10. Hare And Heather Part 1
11. Hare And Heather Part 2
12. Aerial Ballet
13. Highlander
14. Break Out Of Prison
15. Demon Of Subterranean Lake
16. To The City Of Ice
17. True Intentions
18. Sound Of Approaching War
19. Highlander Battle
20. Juno Waltz
21. A Wish For Each Other
22. Fire Dragons
23. Solebria
24. Mitsuru's Recollection
25. Archibald McDonald Of Keppoch
26. Demons Versus Dragons
27. Cry Of The Heart
28. Because He Is A Friend
29. Sweet Whisper
30. Vision
31. The Star Of County Down
I was on a break between classes back in my college days and I came home to find this interesting video playing on MTV. 'Sweet Lullaby'. It was fascinating. I thought the video was mysteriously beautiful while at the same being lush and vivid. It struck me as truly artistic. And the tune was lovely. I later learned the group used UNESCO recordings of tribal music from Zaire, Sahel, Tibesti, Burundi and other places in Africa to create this interesting world blend of Pygmy folk music and electronic dance beats. I also learned they donated a substantial portion of the album's profits to a fund to help Pygmy tribes of central Africa cope with environmental threats and are committed to preserving the cultural music of these native groups.
That sealed the deal for me. I was completely captivated. A worthy cause and interesting music... It was a done deal. I've continued to follow this interesting band and I think this album is one of the most exciting and interesting pieces of world music ever made.
From the opening track, the band sets a precedence for interesting melodies, catchy hooks and infectious beats. 'Sweet Lullaby' magically segues from the first number and the album seems to open like an expanse of jungles looming green and fragrant before you. 'Hunting' follows and is an exciting, upbeat number. 'Night Bird' is the next track and has a haunting quality making you imagine the sounds of dusk and the sweet twittering of small birds.
'The First Twilight' is an ambient bridge of sorts. It's the first purely instrumental piece and transitions into 'Savana Dance'. This track is motivated! It gets you excited and on the edge of your seat while at the same time maintaining the mystery of tribal sound. The next tracks are just as interesting and complex. 'The Second Twilight' is another instrumental ambient number that effectively set up 'Sweet Lullaby (Ambient Mix)'. Sadly, this mix is far more interesting and effective than any of the mixes appearing on the single. Also sadly, it's extremely short. But the flawless way in which these songs flow together is dynamically fluid. By far, this could easily be the most superior track on the disc. 'Forest Hymn' is almost an anthem of sorts. It has a grandiose full sound and the pygmy choir makes it seem like the perfect climax to a superior CD. An excellent build and the best possible track to close out this masterpiece.
If you don't have this album, you should pick it up. I imagine it was famously popular all over the world. And why wouldn't it be? Give it a listen and see if you aren't singing at the top of your lungs trying to mimic the sound of words you don't understand because it's just too damn infectious. This is a beautiful, purposeful recording. I love it. My final word: INSPIRED.
DEEP FOREST - DEEP FOREST
01. Deep Forest
02. Sweet Lullaby
03. Hunting
04. Night Bird
05. The First Twilight
06. Savana Dance
07. Desert Walk
08. White Whisper
09. The Second Twilight
10. Sweet Lullaby (Ambient Mix)
11. Forest Hymn
This was the first song I heard from Deep Forest and I loved it from the moment I heard it. Singles are tricky things. Sometimes you get something that enhances the song and the experience of the music and sometimes you get a money pit. I'm not exactly sure where I am on this one. The first track is essentially the album version while the second is more of an extended mix than anything. The third track is a typical club beat from the time period. It has a house beat with some tricked out synth playing over the top. It's nothing exciting or interesting though. The 'Round The World Mix' is something differently entirely. While staying true to the basic formula of the song, the beat is written in a deep house style and is fairly straightforward. I say it's straightforward, but it's also not unpleasant to listen to. Of the mixes, this is the best. The final track is just some odd trance synth sounds played over a deep drum beat with snatches of the song intermixed. It's interesting in itself, though hardly an attention stealer.
Overall, none of these mixes really do justice to the original song which is easily one of the most enjoyable pieces of music written. It's a lovely number. Check it out if you want, but the mixes are probably better downloaded than purchased on this format. My final word: NICE.
DEEP FOREST - SWEET LULLABY
01. Sweet Lullaby (Original Mix)
02. Sweet Lullaby (Remix)
03. Sweet Lullaby (Q-Bass Mix)
04. Sweet Lullaby (Round The World Mix)
05. Sweet Lullaby (Bonus A La Efx)
As probably anyone into Enya knows; she started out at 18 with her siblings in the famous band, Clannad. After touring and recording with them, she finally decided to strike out on her own. This soundtrack was her first attempt at a solo project. With the exception of the Jazz Club numbers, she composed all of these tunes.
Well... The Jazz Club pieces are somewhat mediocre at best. They're soft renditions of jazz standards done in a lounge style. 'Mack The Knife' is performed with a hurried swing that makes you wonder where the band was off too after the show. The rest are faithful, but boring versions.
I guess the best part of this record is hearing the evolution of an artist. She was smart to cut her teeth on this project rather than on a full fledged solo release. You can hear her starting to develop the sound she later becomes so famous for. But the reality of this record is that the music is fairly uninspired and simple. There's not a single track that stands out above the others. There are however, a number of tracks that leave a great deal to be desired and are frankly horrible. The inclusion of the saxophone in certain Enya numbers is quite horrific in and of itself. The numbers could stand on their own, but the inclusion of a session sounding jazz saxophonist detracts greatly from the appeal.
Having never seen this film, or knowing if it was even released in the United States, I can't say how the impact of specific scenes could have played in the creation of this work. Needless to say, I doubt very much there was much for her to play off of considering how weak this material is compared to just a few short years later.
This is an ideal gift for the die-hard Enya fan. But be prepared... This isn't the Enya you know and love. This is a developing artist cutting her teeth. You are warned. My final word: SCARY.
THE FROG PRINCE - ORIGINAL MOVIE SOUNDTRACK
01. The Train To Paris
02. The First Day
03. Jazz Club - Mack The Knife
04. Jazz Club - Let It Be Me
05. With Jean-Phillipe
06. Jenny
07. Reflections
08. The Frog Prince
09. Dreams
10. The Kiss
11. Jazz Club - Sweet Georgia Brown
12. Jazz Club - Georgia On My Mind
13. A Kiss By The Fountain
14. Jenny & Roz
15. Les Flon-Flons Du Bal
16. Epilogue
Sometimes you hear music that has the ability to stop you in your tracks. Music that can make you feel more than you're willing to admit. The first time I saw "Lemony Snicket's A Series Of Unfortunate Events", I found myself moved beyond all belief. I later realized is had as much to do with the grandiose music score as it did the actual writing and acting. The music to this film emotes as intensely as the scenery or the actors themselves. At moments, the music can move you to tears.
I've never paid much attention to composers of musical scores. Lately, I've found myself paying more and more attention to some of these incredible musicians and authors. Especially this guy. I'm inspired to find and hear more music from him.
In case you haven't seen the film, let me just say... There's a feeling prevalent through it of losing your breath. What happens to these children is a tragedy no one really addresses. It's a sad event that is quickly overlooked as they are shuffled from one place to the next, while adults plot to use them for their own purposes. The terrifying nature of their experience is felt only in the music of Thomas Newman who uses tiny sounds to depict the broken hearts and fragile minds of these orphaned children. Sure there's booming adventure, great big excitement and humor rolling non-stop through the scenes and scoring, but the defining moments arrive in the softer, more toned sounds of tracks like 'The Baudelaire Orphans', 'Resilience', 'VFD', 'One Last Look' and 'The Letter That Never Came'. These tracks in combination with the scenes they accompany have the ability to cause tears. Certain ones can cause it without the accompanying scene. This is where the tragedy of the film really comes to life. They convey pain, loss and the longing for home more fully than anything I've ever heard before. 'The Letter That Never Came' blurs my vision even as I type and listen to this beautiful melody. It's truly heartbreaking and hopeful at the same time. It brings resolution to what could be called the Baudelaire Orphans reoccurring theme.
There's creepy music too. 'Chez Olaf' is a fine example of this. There's the booming sounds of 'The Reptile Room' and 'The Wide Window'. The originality of the character themes are also wonderfully expressive. My favorite is probably 'Concerning Aunt Josephine'. Absolutely breathtaking music wonderfully off center, unique and inspired. This brilliant composer has won my heart with his masterpiece scoring.
I'm listening now to the final piece of this incredible soundtrack. It's probably one of the most popular pieces of music I've heard in a long time. It's popped up in other films and NPR uses it all the time between pieces. 'Drive Away (End Titles)' alone is worth the purchase of this worthy addition to any CD collection. Check it out. My final words: HEART RENDERING.
THOMAS NEWMAN - LEMONY SNICKET'S A SERIES OF UNFORTUNATE EVENTS
01. The Bad Beginning
02. Chez Olaf
03. The Baudelaire Orphans
04. In Loco Parentis
05. Resilience
06. The Reptile Room
07. An Unpleasant Incident
08. Curdled Cave
09. Puttanesca
10. Curious Feeling Of Falling
11. Regarding The Incredibly Deadly Viper
12. The Marvelous Marriage
13. Lachrymose Ferry
14. Concerning Aunt Josephine
15. VFD
16. The Wide Window
17. Cold As Ike
18. Hurricane Herman
19. Snaky Message
20. The Regrettable Episode Of The Leeches
21. Interlude With Sailboat
22. Verisimilitude
23. Loverly Spring
24. A Woeful Wedding
25. Attack Of The Hook-Handed Man
26. Taken By Surpreeze
27. One Last Look
28. The Letter That Never Came
29. Drive Away (End Title)
El DeBarge is a member of the 80's R&B family band, DeBarge. They scored a number of mediocre hits in the early 80's, especially on soundtracks. They eventually split up to work on solo projects. On this particular disc, El enlists the help of famous producers and songwriters. The overall production credit goes to Maurice White of Earth, Wind & Fire fame. He only gets one writing credit. It's the album's final track. 'Special' is a rather unremarkable piece that drags the body of work down. Ending with 'Prelude To Midnight' would have been a smarter choice.
El brings in all kinds of brand names to create this outing. Chante Moore contributes vocals on numerous tracks. Soul/Funk veterans Patti LaBelle and Larry Graham also show up on songs. Rapper Kool Moe Dee contributes a satisfying funk workout at the start of the album in the track, 'Fast Lane'. Larry Graham thumps out a pounding bass and you can catch him vocalizing as well. Patti LaBelle donates her voice and arranges vocals on 'After The Dance'. Keith Crouch appears to be the major musician on the disc. He works well with DeBarge and the interlude/prelude pieces are interesting musical ideas. They're intriguing though sadly too short to fully appreciate. There's at least another album's worth of instrumental material waiting to be flushed out.
The lag time occurs in the ballads. Switching up from nasty funk to social consciousness has never sat well with me. It's a bit dodgy and the fact El apologizes for the naughtiness of this album in the liner notes only destroys the credibility of the funky sound. It also demonstrates he realizes he'll never be successful just singing soppy ballads. And it should be pointed out the generic, boring moments on the album are the result of poor balladry. Still, nothing compares to the instrumentation and sheer funk of 'Leggs'. George Clinton would be proud.
Of course, all of this was unexpected but welcome. My purpose in buying this disc was the addition of a Prince track co-written by Kirk Johnson. 'Tip O' My Tongue' doesn't feature a performance by Prince. Instead, El and Crouch collaborate to interpret the song in the style of the album's other material. Musically interesting and catchy; 'Tip O' My Tongue' stands out from the other songs. It's more complex and challenging with a wonderful vocal arrangement driving the rhythm section forward. El isn't a stranger to the Prince camp. He sang background on the song Prince wrote for Kenny Rogers in 1987. It's not unexpected to have this contribution floating around.
What is unexpected is the funky diversity and fleshed out soul of the entire disc. It's quite enjoyable on its own. Like most R&B albums, it contains its share of boring, generic filler material, but comparatively speaking... It has more bright moments than dull. Song highlights include though not should be limited to: 'Fast Lane', 'My Heart Belongs To You', 'Tip O' My Tongue', 'Elmo Funk' (Prelude and Interlude), 'Thick', 'Leggs' and 'Another Chance'. So if you buy nothing else from El DeBarge, you wouldn't go wrong making this your one selection. Worth it!!!!! My final word: STORMY.
EL DEBARGE - IN THE STORM
01. Elmo Funk (Prelude)
02. Fast Lane
03. After The Dance
04. My Heart Belongs To You
05. Cry (Interlude)
06. Love Me Tonight
07. Sincerely Yours (Interlude)
08. You Know What I Like
09. Tip O' My Tongue
10. Soul Searchin' (Prelude)
11. In The Storm
12. And Then I Wrote (Interlude)
13. Thick
14. Another Chance
15. Leggs
16. Elmo Funk (Interlude)
17. You To Turn Me On
18. Prelude To Midnight
19. Special
Ultravox was probably more popular in Europe than in the United States. I was really into the New Romantic scene or New Wave, and I was following everything coming out under that category. Of course, not everything was good and some stuff was better than others. In the case of Ultravox, my first exposure to them was through a guy at a record store recommending them to me. He told me the best thing about Ultravox was years from now after music styles had changed, their material would still be classic. I didn't think much about that comment. It came back to me as I listened to this disc and I realized how right he was.
Ultravox had a turbulent history. The band I actually like isn't the original group. Rather, my fascination with them begins after Midge Ure joined the band. He knew one of the members through collaboration on the Visage project and was a fan of the original Ultravox. This chance meeting paved the way for the Ultravox I grew to love.
One of the things that really strikes you when you listen to this record is the strength of the material you're hearing. Each and every one of these tracks could have been released as a single. Musically, they have aggressive, powerful builds and each one is uniquely different from the next. From the outset, 'White China' grabs you and pulls you in. I've always thought this song was about Hong Kong eventually returning to communist rule. But when it was written, that transition was still years away. I don't know how else to interpret it. Metaphorically, it's about losing individualism and free choice. 'One Small Day' on the other hand is about developing an appreciation for life and seeing yourself the way others do. A very inspirational tune. 'Dancing With Tears In My Eyes' has an almost apocalyptic feel to it. It seems suicidal to a certain degree. Of the songs thus far, this is the least interesting musically, but I do enjoy the authentic piano playing to the fore. It's always been an interesting staple for a new wave group to include acoustic instruments amongst the electronic.
'Lament' is a singular tune. When it first starts, you're reminded of that Phil Collins song, 'In The Air Tonight' except this was written first. Once again, that luscious piano moves to the front to play the chorus melody. I feel a sense of longing and dissatisfaction when I hear this song. It makes me think of how disappointing a failed love can be. 'Man Of Two Worlds' actually sounds like a forerunner to something Rammstein would do. I can actually hear Rammstein covering this tune. There's definitely a sense of division here. The chorus plays in abrupt juxtaposition to the verses. 'Heart Of The Country' starts with an interesting drum pattern and progresses in a march of sorts. Appropriate for a song about being manipulated and deceived by political propaganda. 'When The Time Comes' is one of my favorite tracks. It's anticipating a broken heart. You remain in a situation even though you know it's bad for you. Because you know, "when the time comes (you'll) cry." What a brilliant take on love and loss. 'A Friend I Call Desire' has the bass section of a punk song. Vocally, there's a distance in Ure's delivery that creates a sense of separation. He distances himself from his feelings. Even though he innately understands they're a part of him.
Obviously, I really like this disc. I like Midge Ure and I like Ultravox. But if you don't believe me, give this disc a fair shake and tell me what you think. Can you hear what I hear in these wonderful tunes? My final word: ENDURING.
ULTRAVOX - LAMENT
01. White China
02. One Small Day
03. Dancing With Tears In My Eyes
04. Lament
05. Man Of Two Worlds
06. Heart Of The Country
07. When The Time Comes
08. A Friend I Call Desire
Joni Mitchell is an artist I'd heard a lot about before I actually heard her music. Prince admired her and talked about her often. I'd also heard her name dropped all over the place by various musicians and random people. To say she was influential on artists of the 80's wouldn't be inaccurate. She certainly influenced people I listened to.
Since the 80's, I've heard her material and I find her offbeat, kinda wacky and sometimes beautifully poetic. She's written some amazing stuff in her day. This album is one I purchased because Wendy & Lisa worked on it and I wanted to hear how their track would sound. I had no idea they only sang background for her. That was the extent of their involvement. Still, they give a rather lackluster song an ethereal quality it wouldn't normally have.
It seems like a whole slew of major names were drafted to help push this record. When I see lots of guest musicians, I automatically think the album is too weak to stand on its own merits. Sometimes I'm wrong, but in most cases, I'm right. The guest stars are appearing to help pump up record sales using their own celebrity to pimp sales to their fans. Here are some of the power names appearing on this record... Peter Gabriel, Don Henley, Billy Idol, Tom Petty, Willie Nelson, Steve Stevens and Thomas Dolby. Oh, and let's not forget Wendy & Lisa...
Mitchell writes music like free form poetry. She doesn't often follow traditional forms of prosody with her lyrics. Looking for meter in a Joni song can be as useless and destructive as a search and destroy mission. A part of me finds this appealing. I like the idea of her doing something outside the accepted formula. On the other hand, when I listen to it, I often feel unsatisfied with what she's doing. I ultimately ask myself, is she a brilliant artist? Or just a really bad lyricist?
The production value on this disc is pretty much standard fare. It came out in 88 and it sounds like it. There's all the typical flare of popular 80's production; which is another sign of marketing to a larger audience, but sadly, it leaves the listener with a generic feeling. Very little really stands out.
The subject matter is interesting to some degree. There's music about Native American culture, the desert, anti-war declarations and even a poke at product marketing. I find that last particularly interesting considering the obvious marketing aspects of the record to generate income. I like "My Secret Place" though I find the narrative of the song somewhat tedious. It still holds up as an enjoyable piece, largely due to Peter Gabriel's vocals with Mitchell's.
You know, I don't think anyone reading this would be surprised I didn't like the album. And I'm sure Mitchell's not fond of it now either. Something that seemed like a great idea at the time hasn't stood the test of time like her earlier material. The meaningful anthems, the delicate vocals... These things are missing from 'Chalk Mark In A Rain Storm'. If you're a die-hard Mitchell fan, this is a must have. For everyone else, save yourself the money and buy individual tracks online. Not exactly the best place to start discovering Joni Mitchell. My final words: DULL AS DISHWATER.
JONI MITCHELL - CHALK MARK IN A RAIN STORM
01. My Secret Place
02. Number One
03. Lakota
04. The Tea Leaf Prophecy (Lay Down Your Arms)
05. Dancing Clown
06. Cool Water
07. The Beat Of Black Wings
08. Snakes And Ladders
09. The Reoccurring Dream
10. A Bird That Whistles
